Vettaiyan actor Ritika Singh shares weight-loss journey: Bad habits under control
Actor and ex-mixed martial artist Ritika Singh of 'Irudhi Suttru' fame recently shared an Instagram post showcasing her journey of shedding excess weight and getting back into shape despite her knee injury. Ritika rose to fame from her performance as a boxer in the Sudha Kongara film, which was also made in Hindi as 'Saala Khadoos'.Ritika uploaded a video on Instagram in which she revealed that she weighed 72 kgs before starting her latest workout regime. She candidly spoke about how her muscle definition was out of shape due to the increase in her weight. She then shared the kind of workout she underwent, and also the gradual change in her energy and appearance.advertisementIn her caption she wrote, 'The last three months have been absolutely transcendental for me. It wasn't just the fact that I had hit an all-time high on the weighing scale, but the fact that my knee injuries got worse. The pain was terrible. I couldn't move, kick or dance effortlessly,' sharing that she started her workouts sometime in February.
She added, 'That's when I looked at myself in the mirror and said enough, it's time to lock in and look the best you've ever looked. And here we are :').' Ritika opened up about how her relationship with food might've been a reason for her weight gain. She said, 'This is a very long topic and there is a lot to unpack here, especially when it comes to my relationship with food and how I finally got my bad habits under control (sic).'advertisementRitika also mentioned that while she had to make some big lifestyle changes, the 'ultimate game changer' for her was paying attention to small things. 'The things that seem too insignificant to matter but those are the ones that have had THE BIGGEST IMPACT (sic)!' On a concluding note, Ritika said that she would love to talk about it as she believes it would help others with their journey to fitness as well. View this post on Instagram A post shared by Ritika Singh (@ritika_offl)On the work front, Ritika Singh was last seen in Rajinikanth's 2024 hit film 'Vettaiyan'. Her next film is yet to be announced.
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When his girlfriend — she's played by Wamiqa Gabbi, by the way — offers to lend him some of her dowry, he pretends to be outraged, but agrees three seconds later. This is the guy we're supposed to be rooting for. He doesn't have a single redeeming quality. But for some reason, it's characters like Ranjan that Rao gravitates towards these days. There's nothing wrong with playing terrible people on screen, but it can become monotonous for the audience when an actor — especially someone of Rao's talent — reduces themselves to a type. If Ranjan were to walk into one of his other movies, you wouldn't even notice. Barring a couple of films in which he played cops — Badhaai Do and Bheed — Rao's been stuck doing the same small town schtick. In Stree, he plays a loafer who falls in love with a ghost lady. In Chhalaang, he's barely able to secure work as a school PT teacher. In Shimla Mirchi, he stalks a woman in the hills because he has nothing else to do. In Roohi, he plays a kidnapper. Before you say anything, this isn't a real job. In Guns & Gulaabs, he runs some kind of cycle repair shop; in Vicky Vidya Ka Woh Wala Video, he's a mehendi artist who's managed to get married to someone way out of his league; in Mr & Mrs Mahi, he's forced to sit behind the counter of his dad's sports store. In each of these projects, Rao's characters are barely-functional man-children. The only reason they find employment is because their love life relies on it. Mr & Mrs Mahi is probably the worst offender; not only is Rao's character in it severely immature, he's also rather rude to his angelic wife. He grooms her to give up on her dreams of becoming a doctor, all because he wants to live his fantasies vicariously through her. In a more sensible movie, she'd have knocked him over the head with his own hockey stick and walked out. Instead, Rao's character is projected as some sort of valorous hero; a champion of women who empowers his wife to become a cricketer. Bhool Chuk Maaf isn't as well-made as either Bheed or Badhaai Do, two movies that understood that people live inside prisons of society's making. Ranjan's frustration manifests in horrible behaviour that the movie never fully addresses. Sure, he has a change of heart at the end, when he realises that he shouldn't have stolen a job with someone else's name on it. But what about his other faults? How about we address the entitlement that folks like him and Ajju bhaiyya from Bawaal walk around with? It was funny the first time, when he played a person like this in Bareilly Ki Barfi all those years ago, but that's because his character in that film was genuinely endearing. Read more – Loveyapa: Junaid Khan plays the world's biggest red flag again, this time in Advait Chandan's outdated romantic comedy The unimaginative writing aside, Rao's work in these movies itself is an issue. There's a tendency to lean into the dialect, which often sounds interchangeable. There's also a tendency to have outbursts; there's a false sense of pride in these people, bordering on arrogance. Rao has a difficult time injecting them with vulnerabilities. These movies, including Bhool Chuk Maaf, leave no room for introspection and indecision. The men at their centre are empowered by the filmmakers to strut through life with a delusional overconfidence. Some movies, like Monica O My Darling, are smart enough to call their so-called hero out on their bashfulness. Others, like Srikanth, are too terrible to take seriously. But there is a difference between creating complex characters and two-dimensional oafs. In Bhool Chuk Maaf, when Ranjan is terrible, he's uniformly terrible. And when his redemption arc is complete, it's as if his entire personality has changed. Neither version is particularly realistic, because most humans exist somewhere in the middle of this spectrum. Rao has played such characters many times in the past, in movies such as Shahid and Aligarh, in Trapped and Newton. It's about time he returns to his roots, not for our sake, but his own. Post Credits Scene is a column in which we dissect new releases every week, with particular focus on context, craft, and characters. Because there's always something to fixate about once the dust has settled.
